‘The hive, then, extends itself as part of the environment through the social probing that individual bees enact where the intelligence of the interaction is not located in any one bee, or even a collective of bees as a stable unit, but in the “in-between” space of becoming: bees relating to the mattering milieu, which becomes articulated as a continuum to the social behavior of the insect community. This community is not based on representational content, then, but on distributed organization of the society of nonhuman actors.” (K. Von Frisch)
TV BUG & TV BUG (AR)
As a child I’d spend countless hours observing and tracking insects – grasshoppers, ants, butterflies – in a field behind my house. I was fascinated with their hidden and mysterious worlds. They occupied the same space I did and yet seemed distant and alien. They went about their day to day rituals almost indifferent to my existence until of course our paths converged. I remember one such occasion, when running through a field, my presence triggered a chain reaction, one in which hundreds of grasshoppers suddenly leaped forward in escape.
Of course our relationship to insects and their seemingly invisible world, colors our perceptions and experiences in profound and uncountable ways – from real life encounters to metaphors about our fears and problems.
We readily appropriate insects – their form, actions and seemingly alien-like existence – for use in the science fiction and horror movie genres: or to define an error, failure or fault in a system or program, as in ‘a computer bug’: or in terms of our health, ‘there’s a bug going around’. Of course there’s also reference to the invisible insect world in relation to surveillance – planting of ‘bugs’ to eavesdrop on unsuspecting participants or more recently, the military development of Cyborg Insect Drones for surveillance purposes.
The intent of ‘TV BUG’ is to reference some of these appropriations in a very indirect and abstracted way. In so doing ‘TV BUG’ also addresses the relationship we form to the space/s we occupy and move through. How is such a space/s referenced and identified? How is it contextualized in relationship to ourselves? Is such a space/s experienced through repetitive familiarity, social conditioning and/or memory?
It could also be argued that there seems to be interplay of five distinct, yet inter-related worlds or spaces, which exist today in our ‘real’ world experiencing of space. They are: Insect Space (our relationship to the invisible world of insects); 2D Space (our interaction with screens – TV/Cinema/Computer…); Digital Space (our socio-political interactions with coding and software); Physical Space (the space we occupy and move through) and lastly, AR Space (the way in which mobile technology have begun to augment our reality and our relationship to all these other spaces).
The visual and audio footage which make up ‘TV BUG’ were appropriated from five different sources: David Attenborough – Life in the Undergrowth (BBC 2005); V/H/S (Magnet Releasing 2012); Ashes to Ashes (BBC 2008); Three hours and 19 minutes of 4×3 snow (YouTube); The Sound of Cicadas – Amazing Noise of Dense Cicadas (YouTube), and Êt $1 Øn &”¥ më∏àît èÑ∫!n ¿ (Nocturno Motoculto).
And lastly, ‘TV BUG’ was developed in conjunction with ‘TV BUG (AR)’. ‘TV BUG (AR)’ is a public space intervention using Augmented Reality (AR) mobile technology to pin selected video sequences from ‘TV BUG’ to specific GPS locations in and around Montreal, Canada. Access to and the experiencing of these augmented sequences is via any smart device (phone, pad, and tablet).